; ldlebaddy Ghords or Guitar pee ea NaMe topy Cuorps for GUITAR by Allan Holdsworth Photo's courtesy of Carvin Guitar 12340 World Trade Dr. San Diego, CA 92128 Special thanks to Dave Flores Special thanks to Jon Chappell Guitar Magazine ISBN 1-57424-051-X SAN 683-8022 Copyright © 1997 CENTERSTREAM Publishing P.O. Box 17878 - Anaheim Hills, CA 92807 Allright for publication and distibution ate reserved. No pat of this book may be reproduced in any form or ty and clecrofic or mechanical means including information storage and retrieval systems without permission “srwrikng rom the publisher, except by reviewers who may quote brief passages in review.Contents Allan Holdsworth bio...3 Over The Top With Allan Holdsworth, Guitar Magazine Article...4 Preface...5 Chord Diagrams & Signs And Terms...6 Numbering Of Scale Notes...7 Reference Table Of Scale Notes..8 “Standard” Chord Forms, G Major...9 Part1 Scales In Chord From, (Major Scales): Examples In G Major...11 Fig. 1, Scale Notes And “Altered” Scale-Notes On The First String...11 Chord Sequences In Harmony Accompaniments...13 Figs. 2, & 3 Scale Notes And “Altered” Scale-Notes On The Second And Third Strings...14 “Chord Solo” Playing Self Arranged...19 Reference Tables: Fingerboard Positions Of Scale Notes In All Major Keys...20 Transposing Chords From G Major To All Other Major Keys,..22 Experiments With Chord Forms...23 Reference Table Of Notes Produced On The Strings At Each Fret” Including “Enharmonics” ..32 Part 2 Minor Scales In Chord Form, Examples In G Minor...33 Scale Notes And “Altered” Scale-Notes In G Minor, Symbol Terms...34 “Common” Minor Triad...35 Figs.1, 2, And 3 Scale Notes And “Altered” Scale-Notes On The First, Second And Third String...35 Reference Tables: Fingerboard Positions Of Scale Notes In All Minor Keys...42 Part 3 Dominant Scale Notes In Chord Form, Examples In D “Dominant Scale” : Key Signature G Major...46 Reference Table; Scale-Notes And “Altered” Scale-Notes Of D “Dominant”...47 “Standard” Forms For The Chord Of The Dominant Seventh Figs.1, 2, And 3 Scale Notes And “Altered” Scale-Notes On The First, Second And Third Strings...48 Reference Tables - Fingerboard Positions Of Scale Notes In All Dominant Scales...56 Part 4 Diminished Dominant Scales In Chord Form, Examples In D “Diminished Dominant Scale”: Key Signature G Major...60 Reference Table: Scale Notes & “Altered”, Or “Passing”, Scale-Notes In D “Diminished Dominant’..61 Figs.1, 2, And 3 Scale Notes And “Passing Notes” On The First, Second And Third Strings...62 Reference Table: Fingerboard Position Of Scale Notes In All “Diminished Dominant” Scales Produced On The Strings At Each Fret...68 Music Notation Forms, Including “Enharmonics”...71 Chord Sequences In Harmonic Accompaniments...73 Substitute Notes In Chord Forms...76 Chord “Bending”...76 A Project For You...89 Chord Forms For Scale Notes And “Altered” Notes In Popular Songs...91 Song “Greensleeves” Chord Solo...92 Supplement: ; Reference Tables Of “Lead” Notes, Or Melody Notes, On The Ist, 2nd, And 3rd Strings And Their Scale-Note Names According To Any Chord Symbol For Major, Minor, Dominant And Diminished Dominant Harmony “At - A Glance”...98 Song “Londonderry Air” Mlustrating The Converting Of The Notes Of A Melody To Scale-Note Names, Prior To Selecting Chord Forms For Chord Solo Arrangements Of The Melody...105Allan Holdsworth A true legend in our time Allan Holdsworth was born August 6, 1946, in Leeds, Yorkshire, UK. Guitar Virtuoso Allan started on saxophone and clarinet and took up the guitar at seventeen. He wanted the guitar to sound like a saxophone, more as if he were blowing it than plucking it. Coming to London at the end of the 1960s, he was one of the pioneers of jazz-rock-fusion music in the early 1970s. A highly individual stylist, with a gloriously fluid technique and an endless flow of linear ideas. He has said: "I tend to hear flurries of notes as a whole, from beginning to end, rather than hearing one note after the other".* As influential as John Coltrane, Django Reinhardt, Jimi Hendrix and Chuck Berry. Allan, a composer and band leader has influenced musicians and guitarists such as Frank Zappa, Scott Henderson, Eddie Van Halen, Joe Satriani, Carlos Santana, Neil Schon and many more. ‘Jazz, The Rough Guide, € 1955 Published by The Rough Guides Ltd. Allan at his home studio “the Brewery” Courtesy of Carvin Guitar 3fy approach to chords has always been as groups of notes that imply a certain scale," muses Allan Holdsworth. “think of chords as belonging to a certain key, which implies a given tonic scale, I can then play any x. note that is diatonically cor- rect for that scale that sounds good to me. The chords I form many years to figure out the chords I liked to use and what 1 ‘was going to call them, | realized I couldn't realy call therm something and show them to anyone else, be-cause those musicians wouldn't play the chord Iwas meaning. Maybe iat’ why when I harmonize something, what happens is dif- ferent, because Tm notlooking at the chords in the same way. I ‘may not be an inversion of any kind of € mejor chord, say, but just something that comes from that scele. ‘That may come as abit of shock to the jazz players who are used to approach ing pro- gressions in terms of the h monized scale, modes, and ii- V-1. “T dont know what any of that means," admits Holdsworth readily “I don't really care about what itis, as much as the way that it sounds, so if 1 know that there's one scale leading to the next scale, and I like this group of notes that came from that scale moving to, this group of notes coming from the following scale, then I'l use that. So ['m not even thinking of chords in progression, actually.” But ‘Thus, Holdsworth sees chords as distinct Uuaits, not as group members of a key system. For example, in the typical fusion chord pro- ‘gression of G11 BbLL ALL C11, Allan would con- sider each chord the tonic of its own key, and play one of his fav-orite scales, such as the Movolydian with an added major 7 (123.456 b7 7). The result would look like Example 1, where each chord acts 28a key and dictates the notes ofthe improvised scale. When he restricts himself to a certain dia- tonic key, a6 in this next example in C major, the chords can take on some pretty we shapes—at least when viewed through conven tional eyes. “This isa progression where all the ‘chords relate to C major.” says Holdsworth, but he doesn't shed any further light in defining their roles as major, minor or dominant chords (Gee Example 2), because he doesn't think of them that wa) yen the harmonized scale in C major looks unfamiliar and knuckle-knotty when played by Holdsworth, Its C major in the sense that there are no sharps or flats, but the note groups don't form the reassuring major- and minor- 7th forms we all learned when coping “Jazz chords.” Stil, there is an internal logic to the sequence, and the sound is lovely and original (see Example 3), Holdsworth didnt learn harmony conventionally, not does he even hear things conventionally. ‘When I tried to go back dont even see it like that, I's impossible for me to see it ike hat, [just hear it, Obviously, everybody has i dlfferent har- monic sensibility, and sometimes you might want 1o do some- thing that someone else might not want to do, or might not even like. So I just base it on that—I base it on instinct. One has to analyze the harmony, obviously, and I have to do it in my own way, and I have my own symbols that I write out $0 1 can get through something. IfT've learned it, and the band! and Thave played it regularly, then‘ always try to improvise, so I always try to do something different each time. I's not lke | have one way todo it, because that's what improvising is” Edited by Jon Chappell © 1996 Guitar Magazine. used by permission APREFACE The aim of this book is to provide the guitarist with a simplified method of learning chords, in diagram form, for playing accompaniments in orchestral and instrumental performances of modern popular music and also for playing popular melodies in “chord-solo” style. Since all pop-songs consist of the notes of the keys represented by the chord symbols given, in most song sheets, for the harmonic accompaniment, | have grouped the chords for each scale note in the order in which they ascend and descend the scale according to the key signature indicated by each one of the various chord symbols. The order just mentioned indudes, naturally, chord forms which are well known to the majority of guitarists and, therefore, provides for individual selection to be made, by each reader, of chords for general use. The chords may be learned in any order to suit personal preferences as most of the chords are readily mastered, in all keys, by regular practice, Knowledge of music theory and an ability to read music notation is not a prerequisite in this system and for this reason | have attempted to explain such technical matters as are necessary, in references to scales and chords, in terms which may be easily understood by the reader.Cxorp Diacram The chord diagrams given in the following pages are presented in the order in which the "leading note” of a chord - (L.E., the top note) - occurs in the scale when the latter is played from the open position to the highest convenient position, (fret), on the same string. Scale notes and “altered” scale notes, in chord form, are usually played on the first string, second string and, for three and four-string chords, on the third string. It will be noted that some of the chords are practical on guitars which are provided with a “cutaway” portion but which are practically impossible to play on models having no more than twelve frets up to where the neck joins the body. “Not to worry” however, there are many chords available for the “non-cu-away” models, including those in which unwanted strings are prevented from sounding by lightly touching them with a part of the finger, or of the hand, which is not employed in the fingering of the chord. Examples are illustrated in the keys, G Major, G Minor and in the “Dominant” and "Diminished Dominant” scales of those keys - (the latter are explained in the section which deals with them). Excepting for chord forms in which open strings are featured, cll chord forms are easily played on various positions on the fingerboard, thus producing the same chords in any key by simply keeping the fingers of the left hand fixed in the “pattern” of the selected chord and then moving the hand and arm up, or down, the fingerboard, as the case may be, to the position required for producing the chord in any desired key. Reference tables are given for the purpose of readily locating the fret position for any scale note and any “altered” scale note of Major, Minor and Dominant scales in all keys. The “altered” scale notes, incidentally, are those which are lowered, or raised, a half-tone, (or fret). Signs anp TERMS NP. Nut Position © Open String A number, in brackets, on the left of a chord diagram indicates the fret on which the first finger of the left hand is placed, thus ‘stopping’ the string at this position. Numbers nearby the black dots, (notes), on a diagram indicate the left hand fingering. Alternative fingerings are given immediately under a diagram. A number, or sign, beneath a diagram represents the bass note of the chord; alternative bass notes are shown in brackets. 6Noumperine or tHe Scace Nores Scale notes are numbered, as counted from the fundamental note, in numerical order in the ascending scale, in accordance with the key signature and induding the fundamental note in the count. The note on the eighth scale step is the “octave” of the fundamental note on step number one and, therefore, this octave of the fundamental may be regarded as the first step of the continuation of the scale ascending to the next higher repeat of the fundamental. The distance, in scale steps, between any two scale notes is known as an “interval” and this is represented by a figure which indicates the distance which separates the two notes. This figure always refers to the uppermost of the two notes and there are two main kinds of intervals, viz. “Simple” intervals, (meaning less than an octave in size) and “Compound” intervals, (meaning those greater than an octave in size}. The simple intervals are 2nds., 3rds., dths., 5ths., 6ths., and 7ths. Compound intervals are 8ths., 9ths., 10ths., IIths., 12ths., and 13ths. The intervals which are greater than the 13th need not concern us. The compound intervals just referred to are, of course, the same, in harmony, as the simple intervals, except they are an octave higher. Of these compound intervals, 8ths., 1Oths., and 12ths., are never used in chord symbols because they are simply the notes of the common chord, (or “triad” as it is commonly called), and this is always represented by nothing more than the name of the fundamental, or root note, e.g., the symbol G represents the common triad built upon G and consisting of the keynote, third and fifth notes of the G Major scale. “Altered” scale notes are those which are raised a halftone, (or fret} and are known as “augmented” intervals, and those which are lowered a half-tone, (fret), and are known as “minor” intervals when applied to major intervals, and as “diminished” intervals when applied to the Sth and to the 7th interval of the dominant chord when the latter is converted to a “diminished seventh” . The term “altered” scale note applies to both simple intervals and compound intervals, e.g., the “augmented 4th” is the same, in harmony, as the “augmented 1th” except it is an octave below the latter. Either of these two terms may be used in chord symbols. It is important to remember that, in minor keys, the ‘minor 3rd’, ‘minor 6th’ and ‘minor 71h’ are actual scale notes in the descending "melodic minor” scale, while the “Major” 6th and “Major” 7th are actual notes in the ascending “melodic minor” scale. “Altered” notes, in minor scales, are limited to the “augmented 4th” or “diminished 5th®, (same sound), and, infrequently, the ‘minor 9th'/'minor 2ndRererence TaBie oF Scate Notes Fingerboard positions of thescale notesand “altered scalenotesin the key of G majorare represented by figuresdenoting the Scale-Step position of each note, as counted from the root upwards in accordance with the key signature: thus, Diagram. The notes of the common major chord,(triad) are THE FINGERBOARD IS DIVIDED shown in the circles in Diagram 1 and the table to the left. The chord is represented in symbol form INTO.5 SECTIONS simply by the name of the root “G". The boxed "R” oe represents the root. NP Pr The left tableisa visual guide toforming the the “standard” major chord shapes around the root positions (inany major A P2 key). (Note that that A and B have the root on the Istand 6th strings at the same fret) bee 3 B ALTERATIONS Pa ees -2 (Ab) : +2 (AB) : +4 (CH: we RS +5 (DE): -5 (Db) = +6 (EY P6 + 5 4 +445 HO) + Cc Fernie : By OG Q 5 9 (Ab) 2 +9 (AB) : +10 (CH) be ps ao ap /+5 RY D Po 445 t tS The 2nd, when added to the triad, is always repre- sented by the number's", it's compound equivalent. Loew G Ok do, 3 The 4th is represented as such and also as an 11th. theatigmented 6th is never used in symbols be- cause itis identical to the minor 7th interval known as the “dominant” 7th. T = PLe ob) 4d J+! (A) owpime| Pld 3 x pon Le pis [k 0) 4 Sirngs Qh Sihoform thechordshapesinany key, first find the Root positionsand then form thechord StanDARD Forms | G Major Thelineson the tablebelow indicatethenotesofthecommontriad in _ shapes around theseppositions. the key ofG Major. In the right table, figs.J show the "standard" chord formsofthe commontriad inGuitar chord diagram form. ® a Symbol Terms tot Rot 44:41] = Augdth / Augt1 | -5 = dim5th ra 9 45=Augsth 4: Medth/ 1th sec 8 Hoe 42:49 = Aug? / Aug9 2:9 = Maj2nd/Maj9 | (Augéthnotused 2:9 =min2nd / mind | inchordsymbols) ¢ q INP Pasllons Es a rs : sec € > 9 ww raz 999) a a fe ps OD oo HE — sec 8 Strings 6hInthecaseof chord symbols in popular song accompianments, the indication of major chords with other scalenotesadded orchords with “altered” scale notes are easily obtained by making simple adjustments to the “standard forms” as shown in Fig. 3. Fig. 1 shows the table of fingerboard positions of the scale notes of G Major. Note the "markers" placed on the positions occupied, in chord diagrams, by the black dots, (notes) The “markers” are the circular shapes. (Note that the Rootsare enclosed by a square.) These are most useful in marking out the notes of chord forms on the table leaving both hands free when sketching out chord diagrams derived from adjustments made to "common chord” forms, as mentioned above and as illustrated in Fig. 3. Standard forms of the common chord in G major oa @® ° ss by OF Sad ss Standard forms (above) adjusted to include "added" or “altered scale notes in the harmony parts. (Root lead) nays cmap Gms majo omnes) mays) Guar omals) Gmap9 ua) Gals) ooo ” With the markers placed in position, as showin in Fig. 1, make a visual note ofthe cng positions ajacent fees, nearby postitions on = is tne each string and any other scale notes which are tobe included in the harmony parts as shown in Fig. 2. (For the time being, leave the ” “lend” note on the first string unchanged.) Later an this note too may be adjusted Note that the "6th" may replace the "Sth on the same string, and that the displaced "Sth" may be restored on an alternative position - a (Ont the Sti string.) The “6th” may also lak ead see replace the “doubled” Root, likewise the “maj7". For other adjustments, a few mo- ments spent on comparing each of the chords in Fig. 3. with the common chord in Fig. 2. will prove most helpful asa guide to making adjustments toa given chord form. 10Part One Scales in Chord Form Scales in G Major Fic. 1. SCALE Nores AND “AttekeD Notes" ON THE First STRING = Fingering number @= Scale note number RIN. represents the [Seale Nowes r is a tate mer nae | 9 al om 1 ub Root, the remaining |_Assending | scale notes and ‘altered | “Soistfeme” | “imitate” hy ccse) tor Mee aay 20 2b fn ca mee sale motes’ ae represented by figues | Gngjo Gna? ims} ima) mas) which indicate the oll * ae _ pasitions of the notes in lad =" the scale ascending from the wot 1 ard from the root 8, the octave ‘oot 1. Alterratve chore! dagrams for each scale | S™ tc = note ate given to allow ‘S for individual selection by the reeder. aN RN ot (ona) or eG See pase 6 for| mat aE directions on producing the same chord forms in any other majo key anc page 20 for reference tables showing the positions of the: fingerboard and of the |." caer scale notes in all major | “tue ihr fuga she tae "ae bays ont 1 Som [oman 3 Gon pre fenton a Scape ee Chol forms the mad ae esr 1 play higher potions WSCALE NOTES AND" ALTERED" NOTESCONT... = Fingering number @®= ve SST Gmajlt Gmaj(+11) Gmaj(4) ‘Gmaj(+4) 1 Chord forms frequently uted in general accompaniment work, 4 Chord forms this marked are easier to play on higher positions. 12SCALE NOTES AND "ALTERED" NOTES CONT. (CHORD SEQUENCES IN HARMONY ACCOMPANIMENTS: Instead of playing the "standard" chord forall 8beats, youcan often substitute chordswhichcontain "added" or “altered” scale-notesas in the example below. © = Fingering number @= Scale note number +e 7b 2 Ig) oct Note ral Gmajo Gmnaj7 ‘Gmaj * 7 6 rae nalé Coys ‘maps 2K Chord forms frequently wed in general accenpaninent work 4 Chord fore this marked are easier to play on higher postions 13Scate Nores anp “Atrerep Nores” oN THE 2ND STRING Fig. 2is thesameas Fig. 1 exceptthe scale notes and “altered” notesare onthe 2nd string. These chord forms provide for notesin the scaleascending from the 6th {E),of Gmajor, on the open first string to the 3rd (B), on the open 2ndstringand also “inside” chord alternativesto the chords for scale notes up to fret position ten, on the first string for the 5th, (D). SCALENOTES ASCENDING FROM B, (THE THIRD), INGMAJOR @= Fingering number @= Scale note number 4 ch ‘Sth ig included Gmaj(+l1) Ginaj(r4) HE Chord forms feuenty used in general accompeninen. work 14Scate Notes anp "Atrerep Notes” ON THE 2ND STRING CONT. ‘SCALE NOTES ASCENDING FROM B, (THE THIRD), INGMAJOR 7p ‘& (G) Root Nowe 1_(G) Root Note Gmnaj7 Gmaj ar tr Eup 2K. Chord forms fequertly used in general accompaniment werk 15Scate Notes anp “ALTERED Notes” ON THE 2ND STRING CONT. SCALENOTES ASCENDING FROM B, (THE THIRD), INGMAJOR +h + Gmaj+11) Gmaj+4) 1065 3K Chord forms fequenly used general accompaniment work mhScALE NOTES AND “ALTERED” NOTES ON THE SRD STRING Fig, 3is the same approachas Figs 1 and 2but the scalenotes and “altered” scale notes on the third string. These chord-forms provide fornotes of the Gmajorscale descending from the note B, (3rd), on open second string to G, (rootnote), on open third string, and also the “alternative” forms for notesascending the scale to the "octave" of the latter Rootnote SCALE NOTES ASCENDING FROM THE ROOTNOTE, (G), ON THE OPEN THIRD STRING ae 1 (0) Root ote 50h GnaiG+9) Gmaj(i) Gmaje Gimay(+4) maj) 2K Ohord forms frequent azed in general accompaninent work 17SCALE NOTES AND "ALTERED" NOTES ON THE 3RD STRING CONT... The chords given in Fig. 1, 2 and 3 provide a complete range of scale notes and "altered! scale-notes of the key ‘of Gmajor to produce the same range in any chosen major key. Refer to the "Reference Tables: Major Keys", on page 20. The table siven shows the positions for the fingerboard, each scale note, and all six strings. To adjust any of the “standard” chord-forms in any selection key, follow the directions given on page 10. The ‘examples show how "added" cr ‘altered! scale-notes can be included in the harmony parts of a chord according to the chord symbol. (Given in the harmonic progresion for any particular popular song you are dealing with at any given time.) Such adjustments apply equally to chord selection for use in accompaniments or in ‘chord solo" playing SCALE NOTES ASCENDING FROM THE ROoTNOTE, (G), ON THE OPEN THIRD STRING 72 (Dy +2 (OD 7 comer i) +5(0D rb 8 (G) Re 18“CHORD SOLO” PLAYING SELF ARRANGED As already mentioned, the notes of any popular song are scale notes and ‘altered! scale notes, including ‘pessing notes’, belonging to the keys indicated by the chord symbols given for the harmonic accompaniment. Therefore, to play 2 melody in chord style it is only necessary, as a preparatory step, to work out the positions on which the rotes will be played on the finger board. Some will be on the fint sting, some on the second, and if requived, some on the third The next step is to take each chord symbol in turn, prelerably dealing with those given in the first four bars of the melody, followed late’ on by the succeeding four bars and so on, in stages, through the whole chorus. Refer to the ‘Reference Tables; Major Keys. For each major chord symbol in the ‘four bar extract’, turn to the table given for the symbol so that you can locate the ‘scale note’ name for the melody note- (You will already know the position of the note on the guitar, assuming that you have worked out the positions in the preparatory step just mentioned.) Then turning to figures 1, 2 and 3, make a rough sketch on paper of chord diagrams given for the same melody note in G major, but this time with the lead note of the chord diagram to be placed on the scale note in your chord solo. (See page 91 and 92, on which the latter page is given a chord solo of an extract from '‘Greensleeves'). ‘After dealing with the major chord symbols and their scale notes which occur inthe melody line, take each minor chord symbol and melody notes in turn and deal with them in the same way. Follow this with dominant chord symbol: and their melody notes and latt diminished. The method just explained is somewhat mote convenient than the one which involves switching back and forth from major chords to minors, back to majors, then doninants and so on. In the Final linking together ot the ‘melody chord’, your ear and instinct for good harmony will be the deciding factor in devising an interesting sol. The table on the right is an example in C major showing the distance using whole bt steps and half steps between any two scale notes and the interval distance between the root note and each note of the ascending scale F -Fh-Gb G -ct A -Bb ‘Altered’ notes are in B brackets. -Db 2 19Reference Tables: Major Keys Scale notes in all major keys and thei potions on the fingerboard. Directions are the same at those given on page 7, and for scale notes and ‘altered! scale notes in G major, page 8. Note particularly the pattern of oot note positions. Play thete in ‘octave form! to become fanitiar with these postions then form the various chords around the octave positions. To find the figure for a ‘compound! interval, simply add 7 to the figue for the equivalent ‘imple’ interval, i, phx 7 =9, 4 plus 7= 11 Figure 1- Tables for the ‘open’ key and the cycle of flat keys from F major to D flat major. For G Hat see F sharp major. NP. 6 7 +E Pi 7 “F Solid lines P2 - indicate root oes PS. -Gcctave for! P4 PS GA P6 F Note: The notes of the ‘common! 1G mejor choid are shown in cide, | while dotted | ines outline the a 2 ‘chord shapes! of | ‘ Fi standard chords | noe Cea | Po edt a P10 6 2 eee Pt SOO P12 [S S P13 & 2+ P14 Ps@ 6 2OTOS 20Fgure 2- Tables forthe cycle of sharp keys Gimajor Dinajor NP. 6 2OO9 6 -£ 2O0Q462£ Pt P2 2 Ft @s2 Ft P3 &? ne 3 7 ee pa [S TOs P52 6 2A fy 4 OA PS N Z ota Qs ez O68 Pa 4 c 4 ' P9 6 2 =e P10 D a oD Pit a a Oo P12 6 2 6 -£ roe PRE P13 ¥ ¢ 6 ‘Emajor B major NPQ 4 © 4 ' 4 al XN p2 2 bt oat Ff P3 yy 7 4 Ob TOTO 62 é ct mee Peet P6 5 6 S) 4 P7 2 B PB x f % 3 Po 6 roog 6 -ct 2 2 -ct P10 Pit 6% | tof 62607 @oi P12 3 bho z Te £ P13 |X B) 6 P14 2 ob? 6 2 -F 2 © pis | TExample in transposing the chord form from ‘6th’ lead in G major to C major, EP major and A major. Try some of your own transpositions in other keys as wel. Note the finger alloted tothe lead note 3d fet 10th re 12th het 12th fet- Fingers ued for chord shapes are in black dots- @ Circle fingers are the ‘Sth as lead note- @ 3rd fet rd het Sth fet Sth het 6th et ‘ a Bh ret. Bth fet I 11th fet: 12th et 14th het- ooe Sth fet th et 2d et 10th fe 13¢h fet: Teh rete g For Ab major 6, move one fret up. For Gb major 6 move one fret down, For Db major 6, move one fret up. For B major 6 move one fet down, For E major 6, move one fiet up. For D major 6 move one fret down. For Bb major 6, move one fet up. For Ab major 6 move one fret downExperiments With Chords Forms In concluding part 1, the following extension method described on page 10, for adjusting the ‘common! or standard chord foam, (For major Ley harmony), in order to include other scale notes and/or altered notes in the harmony parts, may be of some interest to readers who wish to make use of what are often referred to as progressive chords. 1 + Refer to figure 1, page 11, and look for chord diagrams in which the sixth stiing is not used. For this experiment, simply transfer the note given for the first string to the same first position on the sixth string. In the case of chords having a scale note other than the root note, third or fifth in the lead, the result of the tansferring of the lead note to the sixth string will be to include an added or altered note in the harmony parts, in the bass part. The following examples show some of the chord forms produced by the experiment Chord selected Altered version Chord selected Altered version Sinsier? 10th et 10th het 3 +t +t root bass lead bass lead 10th fret. bass lead 23The above experiment can be applied to minor, dominant and diminished chords with the lead! on the first string and the sinth string vacant. Some discretion should be used in the case of chord forms having the 9th and minor 9th in the bass, particularly in major and minor chords. Though the minor 9th is effective in dominant chords, as are other added” and ‘altered" notes except the 6th(or 13th), which is fequently used in the bass part for major and minor chords but is not so geod in dominant chord harmony. Much depends upon the chord which immediately follows the chord with "passing" bass note, The 9th can descend a whole tone to the root or sometimes to the “delayed” 3rd; the “aug.4th'/"dim.Sth" to the ‘natucal'Sth or again to the deleyed 31d while the 7th can descend to the 6th or ascend a half-step to the root note. ‘When such sequences are played "by ear" the latter will be the best guide. 5 7 bass lead Saees oot 6 9 bass lead bass lead 254 ~ The present exoeriment is less productive than the previous three. Refer to fig. 3, page 17, and select from the chords with the lead on the third string, those forms which allow for adding a scale-note or an altered scale note on the vacant second string. The examples given here are practically self explanatory and pethaps less confusing Sth fet 9 3 bass lead bass lead G5 - The method described in this experiment is completely different from those in experiments 1- 4, and more involved. [eis the readers priviledge to take itor leave it. The purpose of the experiment is to devise an appropriate chord form to use for a particular lead note for a given chord symbol in which an added or altered scale-note is called for in the harmony part. First attempts are best confined to dealing with chords which contain no more than one added or altered note. Therefore, should the given chord symobol indicate the inclusion of two added notes, you could omit one of the two notes. Suppose the lead nove is the 5th ard the chord symbol is « G major 6 as below in Figure 1. On a sheet of paper, write down the four notes of the chord, in verical order with the lead note, D(theSth) at the top and the remaining notes of the chord in the order as they occur in the G mejor scele descending from D. Fue 1 G major 6 Sth lead These notes ae in lose harmony frm and in mast cases this form i challenging on the guitar because ofthe wide expansion ofthe hand 3rd required for their execution. In this instance the close formation is rootnote often uted by guitars. 6th bass Referring to the table on page 32 titled "Notes produced on the strings at each fret" and following the directions given ‘on page 10, place a marker on D(3rd fret on second string) or on positon ten on the first string. Then place markers on the notes B, G, and E on adhacent inner stings. The notes should be in order exactly as you have written them down The illustrations in figure 1 shows the markers in position on the table of fingerboard positions. x x XX DS Dae 10th fret — Beard ffm B- Sed Gaon note 23rd fret Th fet: D-Sth Bad Groot G-oat note a Eo E-oth Eth The fret position stopped by the fist finger can be indicated either at the side of the diagram. The latter figure indicates the fret position next in the direction towards the nut position and is convenient for use with chord diagrams close. together a9Besides the close harmeny forms forthe four-rote chord given in figure 1, we can also have the same four notes arranged in open oF extended haimony and these are idelly practical for playing on the guitar. A simple method for rearranging the three notes Fi in the hermony parts, while meintaining the same lead note, is shown in this eample of the 2 lead lead regrouping of the notes of figure 1. The notes 3rd 3rd in harmony parts of the cose harmony form _foot note 6th were, in descending scale order: B, G and E. root note Keeping the note B in the same position we can alter the notes G and E to read E and G. = 6th Open or exte lead In this example, take G asthe top note of the foot note harmony parts in descending scale order G, E, 3rd B and G, B, E. 6th °) Take E as the top harmony note. We have E, B, G and E, G, B thus completeing the permutation order of the three notes, as shown in this example. _.foot note IRThe notes in the open and extended forms are in descending order ofthe scale below the lead note, except each note i, in turn, moved an octave lower. Take each of the extended harmony forms, from the previous page, inthe order given and place markers cn the position ofthe notes on the table of fingerboard positions. As to alow for eaty sketching the chord ciagrams on a sheet of graph paper, or on pliin paper, the chord diagram froms thus olotained are at shown inthe illustration following 2nd 14th lead 31d 6th root note bass on | maior 8 | Abridged versions x xX_X oth lead root note 6th 3rd_ bass Abridged versions 29lead root note 3rd 6th bass ay ee e lead 6th 3rd root note bass Abridged versions Od 15thThe second grouping in figure Bis impractical on the guitar due to the wide intervals which are contained in the ‘extension. Except in isolated instances in which the gaps can be filled in with doubled notes as in the example given below. 6| root note lead 3rd 5th 6th bass Abridged versions 1904 - Experiment #5 can abo be used when any of the other thee notes of the G mejor 6th chord are in the lead position So when ths chord is called for in accompariment work ts possile to obtain lage selection of chord chagrams for ths symbol, and when maved up and down the fingerboard to various positions the chord of the major sixth in any major key. ‘Additionally, all other fournote chords with minor and dominant harmony can be treated in the same manner. In the case of chord symbols which call for two added notes such as major 6/9, mejor 7/9, minor 6/9, minor 7/9 and dominant 7th chord with added 9th or minor 9th. These chords can be converted to four-note chords by omitting the Sth. Except when the 5th and 3rd are in the lead, omit the root. In the case of dominant chords, the same rule applies, except when the 5th end 9th ere in the lead, itis preferred to omit the root. As for G 11 with added 9th, a six-note chord, omit both 3rd and 5th except when the 5th is the lead, omit the root and 3id. The five experiments with chords will provide readers who have the time to devote to such projects with an extensive repertiore of chord forms covering practically every kind of chord symbol used in popular music. It will be sufficient to ‘work out the chord forms for one particular symbol letter-name: C major, C minor and C dominant. Since the chord diagrams for these chords are easily produced for ary other symbol-letter name in the usual manne. As 2 supplement to the reference tables of scale notes and altered scale-notes in all major and minor keys, the table of ‘notes produced on the strings at each fret on page 32 gives the alphabetical names of the notes while on page 71 the reference table shows the notes in music notation. +> 9 31Notes Produced On The Strings At Each Fret Including “Enharmonics” Inch eB A Fig? PB F Alp’ Die po CHD’ FIG’ B pio DD G F A px DIE GHA Cp’ Fic’ alB’ p2 A D G B pa ok ABD Die GA pia FUG 8 eh c Ic? PIs i AXB' P16 CHD’ ols B ote ait pz A dD G& A pis AIBY DIE’ GHA CiD’ 39Part Two Minor Scales In Chord Form ‘Al examples of scale notes and altered scale-notes in part are given in key G mio, from which the chord forms may be easily transposed to all other minor keys. The scale notes and altered scale-notes in chord form include the two standard forms of the minor scale, examole: the melodic minor" scale and the ‘harmonic minor’ scale. The melodic minox scale ascends a natural minor scale with arsed 6 & 7(maj6 and maj7) and then descends with «flat 6 & 7(min6 and min7) The waised scale notes are shown in the brackets given below and also on the reference table of scale notes in key G (Ths seal ascends and descenc the same nots.) 33Reference Table of Scale Notes and Altered Scale Notes In G Minor wrs-G@ @ O © _ 0 Duectons ate similar to those elven on page 8 in the reference table of scale and notes and altered scale-notes of key G major. The saised sixth and seventh notes of the; scale are represented on the table as (me6) and (a7), while R represents the root note. Notes of the commen trad - rootnote, mirc, third and the fifth ere shown in a cicle. In chord symbol form the ted is indicated by the name of the oot note suffixed with the term m, mi or min. EXAMPLE: Gm stands for the common minor chord in key of G minor. Standard chord forms for the G minor ti) sae given on the right of the table, Each note of the tried takes its turn as the lead note of the minor chord. Howes aug.4th - + aug. 11th] « dim.sth . min.gth . maj.Sth + min.éth + maj.éth min.7th .maj.7th X = mejor thirds note that is foreign to the minor key but may ‘occassionaly be used as a passing rote) Arrows between notes on the same! string indicate the steps in the ascending scale with raised 6th and 7th and in} descending the minor 7th and minor 6th, 34Common Minor Triad Scales In Chord Form Minor Chords Examples in key of G minor. Notes in the harmony parts are those of the common minor tiiad, (root note, minor 3rd and the Sth); to include added or altered notes in the harmony parts follow the directions given on page 10 and in the ‘Erperiments with chord forms', page 93. Scale notes and altered notes on the First sting, commencing with the raised or major sixth in the key of G minor [G minor 7 n [Gminge! i : (mi 7) (FA) (ma7) (FH) 8(6) 16) mig (aby miziay x | EEE?| Ech] FR) mid mid mi3 mi3 x XX oO xX A979] 10’ Face 3d A 3rd tee 35[eiminer: 9) 21) mi 10(B’) mi 3 (8) = (emmery| 4(C) 11(C) XX Bth 1(ch 4 ch -12)(0) 5 x x XXX 9th -| en a “ae ws 12(D) 5(D) xx 108 penefeminere: [Gmina maé Ef ma7 Fe Xx KX 19th - 1th. x 10th - 19th | 13th- 11(C) 4(C) x 1st 37 11th. x, 10th - x 12th - 14th J 19th x 12th JS min LS “12 (D) 5(0) Xx x 12(D) 5(D) OO _x : [Gmiiors) mis (Eh) mie(Eh) ——mat3(E#) mae") Oc x x ope 3rd -( ry Sa x ad ee i x xX 4th. [Giminor (ral 7) [6 minor] [ minor #9 ma7 (EH) 8 (6) 16) mi 9 (AP) mi2 (Ar) x x x x 7th x be x x is fd[ Sminor | ma9(A) ma 2 (A) x x mi 10 (BY) mi3 (B?) Get ia “(C) 4 e sok x * 10th - 10th RN x af 10h. LTO] a a0 . x vith + 12th - ‘ x 10h OT Tey] Lor? ie 5 #11 (CH) +4 (CH) x x x 19th - 10% 14th - 12th | mis 39 -12 (Db) -5 (Db) x x 12th -| 12th - mid x x 14th en9] 12th aie 6 RN mi7 xScale notes and “altered! scale notes on the third string, commencing with the root note, G, on the open string position [8 minor (2)/ 6 ‘Gminor| -2(ab) 200) mi3(B?) Q 0 xx Qo xx XO Xx | | mis RN Qo xx Gmisio 4(C) +4(C ) -5 (Db) 5(D) Xx Sth - mid mis m3 mid 5 G minor (6), “Srinors mi6 (Eb) (ma 6) (E4) xx XX 8th oon | 8th - | 5 5 40(mal (ma 7) (F#) xXx 12th To produce the scale notes and altered scale notes in any key, refer to the tables of scale notes on pages 43 to 45. In all minor keys, each of the twelve tables show the positions ofthe scale notes on the fist frets of each sting. The chord forms given in figures 1, 2, and 3 on the preceding pages will be applied to the scale notes on the fist, second and thie stings. See the directions given on pages 10 to 13 for adjusting chord diagrams so as to include added or altered notes in the harmony parts whenever these notes ere celled in chord symbols. Additionally, the “Experiments with chord forms" can ‘be applied to minor chords. 41Reference Tables For Minor Keys Scale notes, in all minor keys, and their positions on the fingerboard. Directions are the same as those given on page 33. For scale notes and “altered!' scale notes of key G minor see page 34. Cycle of minor keys with flat key signatures: ey signature - [(E_ root note - | A minor A?bey signature ‘00! rote: NP. 2 Pt X= mor thirds note that is | foreign to the minor ley), O = the notes of the minor triad (.) = the “ised sixth! and "ised seventh’ scale notes ae shown in brackets x = toot note (E minon) ener © 2 @™ x hey sgnatwe: [G toot rote NP. Pt P2 P3 P4 PS. R P6 -B ‘ P7 | (f) x 6) :. Ps 4 7 2 Oc po $ 3 -6 (D>) +7 P10 6 t (8)-D q & D Pit 4 7 -Eb “E> © P12 ( ©) 4 P13€ -F V2 F P14 it 6 | ‘ -& 1e6 P5208 4 @ 2-6 @2 OW k 6-6) @2O } +6) AVCycle of keys with sharp key signatures and the “open key" signature: key signature 1a)0 'D major root rote | minor | minor NPQ 47 © 47Q6O4£ pt oT ) x (B) p2 @2 +t 4 Ft P3 7 O-G G Pa i ) (G4) ps 44 A 7-8 P6 ) (at) B ® 8 ch | FOOTE ot ie ct (8) 6) E iret yo ae X D “0! Ez © ) 404) = 7 ? 4 =, ) k (6) ¢ ‘ ef) a @)-Ft 4 @ LO-s g ; 1 $ -G © key signature: | (E root note: Heian np. Os 7@+«£ Pt o£ ® 2 Oi P2 kT OBR 4 P3. () x &) P4 4+ ct ps BSI A P7 + 7B Ps eo) Po 3 -( P10 . Pt 4 -of P12 £ P13 a pia 4 4 +4 pis L@®) 4 @) In choed symbel sequences AA minor is ivavably used instead of G minor, but in music notation the ly signature for G minor i prefered instead of C inotNP. E = Pt F 2 ( ) (FY P3 5 +c pa) k ) «Gh PQ4T ® Pe |] P7 2 2 PB + -c po k © Y/ P10 {7 Dd Pit yk & PA; y -— P13. D F P14) ® ~FH) P15 J -G 45Part Three “Dominant” Scale Notes In Chord Form ‘The dominant scale in any key commences on the fifth scale-note of the key and takes its name from that of the fikth scale-note just mentioned. The keynote is commonly referred to as the “tonic” while the ffth note of the scale is known as the “dominant” or “V" note. Both tonic and dominant scales are in accordance with the key signature for the tonic, or root note, the only difference between the two scales is in the numbering of the notes, viz, those inthe scale ofthe tonic are numbered as courting from the tonic, (called number one), while thos inthe scale ofthe dominant are nimbered as counted from the dominant, (abo called number one in the cele ascending from it). Thus, D the fith note of key G major and G minor isthe fist, (or oot), note of the deminant scale in these two keys The nctes of “the chord of the dominant seventh” on root D are shown in a circle in the diagram below and on the next page. The choid is represented, in chord symbol form, by the name of the root note, sufficed with a figure 7, e.g., D7 means “the chord of D dominant seventh”; similarly , D9 means “D7th with a major 9th added”. Remember that, in chord symbols, the Ind is always indicated as the 9th, (the “compound” interval equivalent). Note that C, the 7th above V (D), is a half-tone less than the “major 7th"(C#) in the key of D major, thus it is a “minor 7th”. 46V represents D, the root note of the scale of the dominant and of the chord of the dominant seventh; (the four notes of the dominant Tth chord are shown in a circle). 5 These are the notes used in the harmony parts of the chords given in Figs. 1, 9 and 3 for “dominant scale notes in chord foun” w@ 2 +6 ¢ P4 +4 5 (n b7) G ). 6 4 Ps O-Q_4 00 P6 P7 maa loka To adjust the chords so as to allow for Es including “added” end/or “altered” scale- Pa (VKZ + 7) otes in the harmony parts see pages 10 Pe (mp7 4/5 (mg7) 20d 13; abo see “experimems with chord forms", page 23, P10 VIZ _&.---- Pa 7 F - (V)7 stands for the seventh interval fie seas ng 7 above the root of the dominant chord P12 stondard for. P13 + +41-5 (VIZ P14 -- AD). (ma7) _- P15 7 me Qnd Tth + 10th - 19th A7“Standard” Forms for the Chord of the Dominant Seventh The examples, in figs. 1, 2 and 3, following, showr the scale notes and “altered” scale-notes, of the dominant scale on D, in chord form. To produce the same chord forms in all other dominant scaler simply move them up or down the fingerboard, Refer to the reference tables, starting on page 56 for any required dominant scale-note. Select the chord-form for that scale-note from Fig. 1, 2 or 3, whichever, and then place the finger given, in chord form, for the "ead" note, diectly en the new dominant scale note. Scale notes and “altered” scale notes on the first string, commencing with open-stiing note E,(the 2nd and the 9th), in the dominant scale on the root nate D. 9 (pres) (Bit) 9(E)2(€) +9 (E#) +2 EH) 10 (F#) 3 (F#) 11 (6) 4(6) oo xOBey +11(Gh+4(Gh) Xx 5 Dee) 5, ‘9th added “ 20 a? bie Dats) DIC) ~12(Ab) -5(Ab) XX | D7{ade 6) | 13(B) 6(B) x_x 7th- FEE? ae 49 1218) 5(4) Xx Sth x 5th OPD7) | B78) | (maj 7) (C#) DM 10" (Eb) -2(6) (passing-note only, ae as a substitute) ms = ati fc on FER He? xx Ww Oth - Xx x xx etew oth Pet, 7th - rt 3 10th + ere x_X 11th - Oth - 10th -O] x) EXAMPLE: ty 10th D mai? ona (for 07) (tories 9(E4) 2(E4) +9(E#) +2€H) x Xx Xx aes 10th 4+5)] 10th - Tith- ete ae XX x Mh Hate arazary 13th- ure Mh ® 3 jae ae Oe fe P delayes 3rd xX_X1 for Fig.1 but with the scale notes and "altered" notes 10¢F#) 3¢F#) cn the second string, commencing with the 6th note of the dominant . scale on D. 19th - 14th - 14th - 14th - (DV 1(D)V Grd - 3 ¢ or Ox x ie | ° ae x x x x Bnd - (+5) 3dDIG) +9(E#) +2(EH) x 10(Ff) 3(F#) x x 5th- COTS tee Tth as x cf x “Ce “Eel $ x x Sth THe; oe @ oar (7th) [B75 ‘07 ~12(Ab) -5(Ab) 12(A) 5(A) xx x, x x, x a Fees + pat @- er 3 x x an xX x x x Tth- 10th - 10th on $ret added 747 er OE I oe 52+12(A})-13(8") 4+5(A$): -6(B> ) x x Tth- (ma? ich x 12th -| rer 3 x x 13th - OE _X x 10th - 10th - (sy 12th- He Tel 19th ana 19th Te] 10th - [HBTS As for Fig.1 and 2 but with the same notes ‘on the third string, commencing with the 4th(or 11th), on the open string(G). 11(G) 4(G) OOXx 53 +16h or -12(A») -B(AP) or +4(GH) O Xx (@" 3 OO xx| (BF PIES O7) o7] 12(A) 5(A) eae vac) xx, “ai or saal} xx X x or + oF 3 (9y-F | 9° Ere E or 3 3 (ma7y(c#) 8(D)V 1(0),V 9(E) 2(E) XX xx xx "efit | ” FREE) aE 7 7 xx ‘9th - (prea) EaoreT +9(E4) +2(E4) 40(F#) 3(F#) 41(G) 4(G) ‘paenons) xx Xx xx +11(Gh-12(Ab) Th- 10th - 10th -( soteor ‘ | | 10h OTST] : i xx 9th - 10th(Bz 12(A) 5(A) xx ae - 3 Btkerorea ore) +12(A4):-13(B)) 13(B) 6(B) +1158") 12th - a+ Xx 19th - (@y- > 3 ‘The complete range of chord forms for scale notes and altered scale-notes of the dominant scale on 'D' can readily be produced in all other dominant scales whenever they should be required. Reference tables starting on the next page show the positions on the fingerboard of the scale notes in all dominant scales A simple method for producing the chord form, for any particular scale note in the “lead” position, is as follows: - select the paticular scale note of any chosen dominant scale, and note, on the appropriate table, the position on the fingerboard ‘on which the particular scale note occu (including alternative positions). Now choose a chord form (the chord tones connected by dotted lines) given for the paticular scale note and notice which finger is allotted to the “lead” note, place this Finger divectl on the previously selected scale notes postion and ther form the chord by placing the other fingers as shown in the chord diagram which you selected i Allan testing one of his signature model guitars at Carvin factory, San Diego, CA Courtesy of Carvin Guitar 55Reference Tables Dominant Scales Scale notes and “altered” scale-notes of dominant scales in all major keys directions are similar to those given on page. (Note - the root positions are indicated with lines and arrows; a useful preparatory exercise is to play the roots in "octave-form” so as to quickly fix the positions in mind, chord-forms are then weaclly foxmed around the 1oots): 'V means “foot note” of the dominant scale; v7 stands for the seventh intervals counted from the root note V) Note that the “major seventh” interval, (given in brackets) is really a “foreign” note in the scale of the dominant and belongs to the major scale which shares the same nate as the root nevertheless, it is sometimes used as a " passing note” or a “substitute” for the ‘dominant seventh’ scale note. "(minor scales which share the same keynote also share the same dominant seventh chord) (KS) means “key signature”. V stands for root note of the dominate scale (Dotted lines outline the “shapes” of chord-forms for the dominant 7th). key signatures. dominant-key signature: [TCE talon) | root note: |G dominant | NP.@ 6 2@ £ P41 - + P2 9 P3 G G Pa i a PS g 4 ORE, @ 6 4 At) P6 -B a 08 P7 ~(4) Pe OY-© z@-¢ 2 -¢ PQ 3) P10 2 -D 2 D @ D Pu eb “E> P12 £ 2 +e4) 3) P13 + ® 2 OF P14 P5OUY 4M? OG 2 36 62 2) § -G fey signature: [SCAB EA EY root rote (Bb dominant | 3 + ¥ + cb “Gb $ G 4h) mi © quia S ¢ © 26 -B 2 tow ot - cl 2 @) ¢ -C 2 @ -C 3 4) a o Ho) (D4) 8 2 Of 20 oa R 2+ 2 oF -F Carlits : 6 @2 |] +c Ox} 57Cycle of keys with sharp key signatures and the ‘open’ key. P7 2 B 2 28 258 Ps a -C pg 2 o -ct 2 a) 6 -ch P10 © VO 4 Wid -D 2 P14 3S) 6 2 P12 2 2-E OVIMIOE ® Ha z FH ae A EE Lt ot P15 G G O44 -ct @ at B Qe 7hey signature: root note NP. 6 2 6 -£ PA F P2 2 FH) P32 © 4 @, -© P4 PS A P6 P7 @6 2 8 Pe £ Pg 3 P10 OD Pi P1262 £ P13, AF P14 FH) P15 | OV-© key signature- [Ej dominant roomate 59Part Four “Diminished” Dominant Scale Notes In Chord Form In comparison with the scale of the dominant, and also in comparison with “the chord of the dominant seventh’ , the 3rd, Sth and the “V7th” are each lowered a half-tone to become the “minor 3rd”, ished 5th” and “diminished” V7th intervals in the dominant scale. The root note, V, remains unchanged but note that the “minor 3rd” has the same sound as the “augmented 9th”, (or “augmented 2nd"), while the “diminished 7th” as it is commonly called, has the same sound as the “6th” of the dominant scale. Incidentally, the occurrence of the diminished intervals, in keys in the cycle of flat keys, calls for the use of the term “double-flat” although it is customary, in many instances, to employ alternative terms which are identical in sound; example: the chord of E flat seventh consists of the notes Eb, G, Bp and Db , therefore to produce the diminished seventh with the same root note, the latter three notes would become G, Bb and Dbb. The alternative names used for the sounds produced by Bbb and Db are AS and Ci, the names used for the "aug 4th" and the "6th’ of the same scale. Standard chord forms for guitar(D dim7 or D°. means diminshed) ~- mid 4 ~-- mis Ist bid --dimS 4th. ~>> dims: ~--dimS Sth - --dim7 — 7th- --> dim7, ~--dim7 8th - --V 10th 5 ---V Vv 11th - => mi3 13th ~~~ mis ---mi3 14th - ~-dimS ~--dim5, thGitn3_ mins Ok Gh Pe py 4 > tS Xd nhs O 1 Gin _ma7_ Gin) 2) Gind 61 X indicates the notes which were lowered a half-tone, (or fet), to convert the chord of the dominant seventh” to the “chord of the diminished dominant seventh” The 9nd, (or 9th); 4th (or 11th); minor 6th, (or minor 13th) and the ‘major or 7th often ‘occur as “passing” or as “substitute” notes for the root, minor 3rd, dim. 5th and dim. 7th V stands for “root”Scales In Chord Form “Diminished Dominant” Scales Examples In “D Dominant” In the Key of G Major Directions for producing the chord forms for scale notes in all other diminished dominant seventh scales are the same as described for producing major, minor and dominant scales in chord form. The four different notes of the chord of the diminished dominant seventh are each at a distance of a “minor 3rd” from the chord-note next above and the chord note next below, for this reason the chord forms for each chord- rote are identical in the “pattern” of the chord diagrams mitO(Fs) mia(F 4) XxO 0 {4} 11(G) 4(G) xO xXxOoO oO dim7 (Wyimi3- mig eo; x (dimS);dim7 3rd- aaa and dim dim3 62?dim12(A>) dim5(Ab) mit3(Bb) mi6(Bb) xx (dim7)V (dim 5);dim7 [pe [B° ina)] dim7(Cb) (ma7\(C#) x_x x_x Tth - Tth Th. 9th - (W)mig hzBoy" 1(0)"" E) 2(E) xXx x_& x 8th - (Fela) oh FE 5 10th mid dim’ a x XxX x 10th - 10th - Oth 3 Vv Xx (mi3):dims x x oth. Aa 9th - 12th - din dims an (wyimid 12th 1 but with the same notes on the mito(FA) mi3(Fh) x _x , 1th. 3th dim7(Cb) xO OX dimS mis 19th - 19th - 13th xx (dim5);dim7 13th Ee Sim 64ee ma7(C#) 8V(D) 1V(0) HE) 2(E) x x dim! mitO(F#) mi3(F4) dim12(A>) dim5(Ab) yx xx 4th - 6th Tth- CEPT dimé 8 x x x x 4th - * oe dims CL Vv x x on. FE T@ ir 65[Bae 13(Bb) mi6(B>) Xx mi Ge dim? mis. 1th. dim7 10th - 10% dim7(C}) Wms dim5 13th x Dx dim7 Be 3rd - aim7(C>) XX dim5XX 31d - dims oth mitO(Fa) mi Oth - xx mis i3(F4) a(Gy'V" 1(G)" XX 6th - dim7 11(G) 4(G) XX Oth - 12th- dim5 67 oth. ‘Q(E) 2(E) xx dim dma dim5(Ab) xx «pes midReference Tables “Diminished Dominant” Scales “Diminished dominant® scales in all major keys, including “passing notes”, |-E., major 2nd, ( or 9th); 4th, Cor 1 1th); minor 6th, (or minor 13th) and "major 7th’. Cycle Of Keys With Flat Signatures Terms: - V represents the “root” note of the scale; -3 and -5 stand for the diminished 3rd and diminished 5th, d7 stands for “diminished 7th” while X denotes the "canceled" 3rd., 5th and V7th of the dominant scale (the fou notes of the chord of the diminished seventh are give in a circle). key signature: +bey signature v NP. pr gkKOHaD? £ P2 -Gh P3 P4 “A> P7 £ | Omar Ps @ DEOL “Dbkey signature v "Diminished seventh" chord symbols, in armonic accompaniment of popular songs. 70Reference table: Notes produced at each fret. 0 = open sting Ist stri + > ,Di LEE ERE LSI Seal S cys one ysbeys & toberete bois ete pete FEF 3rd string Ao adl cagA Ap pc chp ppt Be FIO GC | oie he # wis 16 17 BcchD D o wis % 17 c dppp BEF GGGA A 71Enharmonics Different Names For The Same Sound tt Ab Bb at eb ch B ch Bt c bbb cH ob ct pk Eb ot eb yee eb eb ry ob bo PP O~ o7e5 eo et rh Get ch Ft G Abb Gk ab The models passed Allan's inspections! Courtesy of Carvin Guitar 79Chord Sequences In Harmonic Accompaniments Up to this stage the system has presented the chord diagrams in the exder in which they are played when ascending and/or descending the vaious scales stepwite, and vile many readers wll be familia with most ofthe “standard” chord diagrams for the various chord symbols which form the “chord-connections” in accompaniments to popular songs, there will most ikely be « number of readers who would appreciate some guidance in the selecting of chord forms forthe purpose of linking them together to provide for good, or atleast adequate, accompariment to sole atts of to ensemble playing. Therefore the following diections and examples in selecting chord diagrams for use in various chord progrestions which occur frequently in accompaniment work ae intended to serve as @ guide to readers who may find such guidance to be hell The “chord connections” which form the harmonic accompaniment to a popular song consists, as you will know, ofa “nixed bag” of major, minor, dominant and diminished chords belonging to the scale ofthe key indicated by the key signature and also to the scales ofthe keys into which the notes of the song lead to a: they weave thet nay throughout the song before “homing back" tothe lay in which they started This melody-line, just mentioned, quite often suggests the appropriate harmony and “counter-melody” lines for the accompaniment and is therefore, a sequence of notes belong to the various chord symbols. The latter, according to how many dillerent keys the melody line weaves its way through, may be sparse or plentiu, thus, chord.changes will vary accordingly and in cases where the changes are fairly rapid it is important to choose chord forms which, when liked together to form a chord sequence, cal for a minimum of hand and arm movement when moving from one chord to the next one in the sequence . Such chord forms could include those which are faidy easy to execute while other forms could consist of a combination of chords with the “lead” note on the fist string, and some with the “lead” note on the second string, (I.E., “inside chords”). Even when the chord- changes are quite rapid it f often possible to group all the various chords within a compass of a few consecutive kets As forthe “sounds” produced in your selection of chords for use in chord-connections, you eat must be the main guide to producing a satsfactory accompaniment to 2 given melody. For chord symbols other than those sive in the book, choose a chord diagram from Part 1, 9, 3 or 4, whichever is called for as you deal with each chord symbol in a given accompaniment, and simply move the chord “shape” up or down, the fingerboard, as the case may be, to the position required for applying to the given chord symbol For chord sequences in which one chord symbol only is given for a section lasting for two bars, or more, the use ‘of the same chord diagram throughout the sequence can sometimes be rather monotonous, s0 to avoid undue monotony there are two methods available for use, as shown in figs. 1 and 2, following: - A\ "two-ber" hatmony phrase with C mejor chord symbol only. Oblique lines represent the four beats of 4/4 tempo in each bar: a curved line connecting two "beats' meant play te chord on the first ‘beat and sustain for beat number two. Any one of the chord diagrams may be used or use a combination of the standard chord shapes. 73C Major A 4 X_ 90 fo ™ Sea at XX_O | — f %, cr ™ 0 ™ al eo “Alternative” chord-forms for C major ° oo | so. eee Sh ad. > | ae he same two:bar phrase asin Fig. 1 but this time with the chords of the ‘major sixth’ and "jor seventh! wed with the "common major chord. Other "progressive" froms forthe same chord may also be included, e.g. ‘major *, "major 7/9", "mejor 7th with Aug. Sth’, etc. Pal 10th - "Substitute" Chords Ist 3rd - 5th Sth- 8th. 10th - Xx x Sth- 10th - 74As for Fig. 2 but rhythmically ETC VC 17 Beat | 2 a 4 2 4 - oo C Major "Progressive" chords C Major 6/9 etc. F Qo oO nd - - ae phe Sth 4 ibs 5th- Th. 8th - th. 8th -@ mB fete ‘Chord forms on the lower positions on the fingerboard are useful accompaniment to highregster soloists, while chord forms on the higher Fingerboard postions are often effective in accompaniments to lower register solists, expecially those forms with "lead on the hist sting. IS“Substitute” Notes In Chord Forms The use of ‘substitute! notes in place of temporarily-delayed “regular notes” in chord forms is often convenient when playing thythmic effects and quick chord changes in harmonic sequences, Asa general rule, the note a scale step above, or a half-step below - (and, on some occasions, vice-versa) - can bbe taken as a substitute note for a chordal note, followed, in the next chord following, by the restoring of the suspended chordal note. In terms of “intervals” the 9th, (two frets above the fundamental note, I.E., the symbol-name note), can substitute for the latter. Ako, in dominant chords, the “minor 9th” can deputize for the fundamental, or “root” note. Alternatively, the “major 7th”, a fiet below the root may be taken as a substitute for the root. The 4th, (one fret above the “major 3rd”), can substitute for the “delayed 3rd” while the “aug.4th” can replace the 5th, as also can the “aug. 5th”. Another substitute note is the "6th", which may stand in for either the Sth or the 7th. Again, when the “chord-connections” are in a major key you can add the “min.7th" interval to minor chord symbols; when, however, they are in a minor key you can add the "maj. 6th”, “maj. 7th” or “maj. 9th” in preference to the “min.7th” interval. Chord - Bending ‘The simple adjustments made to any kind of chord diagram in the manner explained and illustrated in the following pages is a most convenient means for interdicting interesting harmonic “colosing” effects in either chord solo passages or in ensemble accompaniments The adjustment consists of moving a note, and. in some instances moving two or more notes, of a chord diagram up, or down, (according to choice), one fret or two or three frets if you like, and then returning the note(s) to the orignal postion. When applied to @ chord for which the “lead” note is to be sustained for several beats, as with a sustained melody-nate in chord solo work the “lead” note can retain its positon throughout the “bending” of notes inthe harmony pars; otherwise, the top note ofthe chord may also be moved in the manner explained above To follow, illustrates some examples of "chord-bending" used frequently in sequences in which a given chord symbol lasts for several beats: G6As for Fig. 2 but for the purpose of illustration, using the ‘standard! C major chord forms, C Major Fee ee atic (eee a C maj XX sh. (Owe) > : Tet ‘The same two-bar phrase but with substitute chor to those used in Fig. 2. Standard Forms C Major C maj Cmajé C maj7 Cmajé xXx x x x x x Tth = 8th - 8th - ee Tth- ae Cc majg maj 6/9 C maj 7/9 C maj 11 x x ™ PR Gt eae Progressive Forms 79Sth - You can we any of the chord forms, standard ard progressive, having the same chord symbol name. Try them in various orders throughout the two bar phrase. Additicnally, you can “bend” any selected chord form in the rranner expleined overpage and as shown in Fig. 4, in which the “inner harmory” notes ae moved, a het-at-a- tine to two frets up the fingerboard or, alternatively, two frets down, meanwtile keeping the “lead” note unchanged in position, The notes thus moved are subsequently progressed back again to thelr initial potion. leis necessary, is some instances, to adjust the fingesing of the forms produced by the process of “bending” Fas. (c) and (d) are examples of moving the inner-harmony rotes to 'two-fets-up! and then moving them to their criginal position. In both directions the notes are moved “a-hetat-actime”, Figs, (@) and (P) are simiay, except they ate in revere diection to that of figs. (c) and (a). Ifthe “lead” note is rot to be retained in its same position, it may ako be treated in the same manner as for the inner harmony notes. As shown in Fig. (3) the final chord form selected to terminate a phrase can be approached by fist playing the same chord form on a position five frets up, and then descending, a fret-a ime, to the final chord. Similarly, Fig. (h) shows the final chord approached by playing the same chord form two frets below and then progressing up to the position of the final chord. You can, of course, bend only one of the notes of a chard by moving it one fret up, or down - (or two frets up, cor down, if you like) - and then return it to its former position. Which notes to choose for the purpose of bending is often a case of tral and error procedure. (Note - The chord symbols for the “substitute” chords are given in the example, although it is not essential for the reader to work them out.) C Major 4 4 ee "Substitute" Chords 6th. ‘Two-bar harmony phrase in C major aie (Ab maj 7) XX @ (ab maj 7) XX 6th ae| — — a ae “Substitute” Chords C maj + LEE] Ist. (Db maj 7) Cmaj7 x x X___ 00x Two-bar phrase in C major, majo C maj (C maj 11) C maj7 x wt ; fT) d t thy tas 3rd - 3rd - 2 ber! + 79C maj 6 (Ab 7) (D min 7) (Ab 7) x (B maj 7) Cc maj7 Xx x 4 4 Cmajé (ab 7) (0 min 7/11) XX XX on. so. O@ oth. e t ' ‘c RN(F maj7) Sth - 14th - 8th. 13th (E maj 7) (Eb maj7) 3rd - 19th 81 2nd - 11th - (D maj 7) (0+ maj 7)9th - As for 3g but with the chord moving in reverse direction. C maj6 (Bb maj6) Bmajs x x x | Ce fet | ss. pe o@ oee Cr re | x x | C maj 6/9 (Bb maj 6/9) | x x_00 | 1t- PEL O 3d- | 82C majé i X x C maj 6/9 x A useful method is to first decide upon a certain chord diagram on which to finish a passage or ending of a chord progression and then glance back for several beats and decide upon one of these beats on which the starting chord of a sequence of “approach” chords could be played. This "approach" chord, and the chords used in-between it and the "final" chord, could be derived from the final chord by “bending” the latter in the manner illustrated in the examples just siven. Notice that in the examples given in figs. (c) to (h) the notes move in what is known as “similar” or “parallel” motion, ‘except in the progressions in which the “lead” note is retained in one position throughout a sequence, in which case only the notes in the hermony parts proceed in similar motion. In consecutive steps of a semitone each such progressions are. termed “chromatic slithers" and are frowned upon by exponents of harmony text-book progressions. Nevertheless, these "chromatic slithess* are often effective when used with discretion and they are most useful for ‘fin! purposes. ‘As a change from sequences in which the notes move in parallel motion we have sequences in which the “bent” chord foims produce “contrary motion” between the “lead” note and the bass note, as shown in Fig. (I). In this sequence the top ncte ascends in steps of a hall-tone while the bass descends in like manner: As for 3h but with the "lead" note ascend bass note descends in steps of ALS Gmaj7 (D mai) (Bb 47) 83C maj7 G maj6 xX XX Sth- e Sth - ‘Many other examples could be added to those already given but these should be sufficient as a guide to the readers own experiments since there is considerable scope for individual experimental work in this field, The choice of the mest acceptable chord forms derived from the “bending” of the notes of selected chords, er chords indicated by chord symbok in a given chord-progrestion, will depend mainly on the reader’ instinct for good harmony. Falling the possestion of a natural “bent” for harmony , the latter may be considered as a training ofthe eat by listening with close attention to the sounds produced by al the chord you play and to the “melodic lines” created in the linking of chords in all harmonic progressions - rot only to the ine" created by the movement of the “lead note of each chord but «ako to (1) the lines produced by the bass notes and, (2) the lines produced by the notes of the harmony pats “Doubling” of the “lead, or melody, note in the bass part should generally be avaided except in the case of doubling the “lead” for the purpose of strengthening the melodic line. Otherwise, stepwise movements, ascending and/or descending are preferable, particularly when such steps are in “contiaty motion” to that of the melody-line. Leaps and fas of an interval larger than a fifth are also to be avoided, generally speaking, in the bass part. Readers who wish to proceed further with the use of substitute” chords and "approach" chords may find the method desciibed and ilustiated in the following eoamples to be of some interest AAs shown in some of the examples starting on page 85 the “lead” note of any siven chord symbol chord-loim can, at various times, be an “interval” or scale-note of any major, minor or dominant scale besides being a scale note ofthe siven chord. For the purpose of example, suppose we take the note on fet position eight, on the fist sting, asa “lead” note and then proceed to apply the notes of any chord symbol (of your own choice) to the harmony parts. Depending on ‘which chord symbol is chosen the alphabetical name forthe note on P8, fist sting, can be “B sharp” (2s in E major (aug.5th); “C", as in C major, C minor, ete.) 0° “D double-tat’, (as in G flat major, dim.5). Therefore, it we regerd the flat", (as in G fat major, (dim.5th). Theiefore, if we regard the note, for the time being, as just a "sound, we can take cach one, (in turn) of the twelve scurds of the scale of semitones, (or “chromatic scale” as itis commonly known), and call this note the fundamental note of the chord-form which is to be epplied to the harmony parts for the “lead” note selected for the example. The following illustration shows, (Fig. 1), the example ‘lead note” on PB, fist sting, together with its alternative names and (Fig. 2), the table of chord-forms which can, at vious tines, be applied to the example “lead” noteNote that, for the purpose of simplification, the fundamental notes in the table of chord forms are taken in the order in which they a chromatic scale from the note having the same sound as the "lead" note. The reason for this is to allow for the table of symbol names to be in the same order whenever any particular “lead” note replaces the note used for the example, E.G., supposing the new “lead” note is on P.3, first string, and the same note is taken to be the ‘commencing fundamental note of the chromatic scale ascending from it, the same order of chord symbols as inthe table can be followed, (excepting, or course for the alphabetical names, I.E., instead of reading “C major” for the first chord-for in the table, you would read “G major” - (G being a commonly-used name for the note on P3, (first string). (see page 71 for the alternative names for each note). Ff maj(+11):F # maj(-5) F47(+11):F # 7(-5) F 4 9(411):F# (-5:-C 4) (11:-BHy Cherd-forms forthe example ‘led" note on position 8, 1st string. Db maj7 Dmin7 C maj xen xy ‘8th - Sth ~ RN Ynaj7 c min yan on Z Db min(maj7) RN Ea DP (maiz) 87 Bu. are x__x Le RN oth. Cdim or C° ‘naj7 XX Th Note: "Progressive" forms of the same chords may also be applied. RN 85Eb majé x oh - TTT 958 Eb min6 xx eth) Tih - Hate Ath) Gb maj (+11) xx 6th - G> 7(411) xX "Ee Gb 9(+11) At) AN) Emin(#) XX anié 8th - Th 48) 48+) ah. +5th E°(6) xX 6th- le BT] min eth (ch) Gb maj(-5) XK X ADbE) ra COD a (3) Gb 7(-5) ee 86 eth - [OTT TS 8th. F7 G maj 11 XX Sth- & a, Attthy Gmin 7/11 Xx G7 Attth) GO (add11) X_X oh AMth)min 3rd)} 6th - Ab maj x eth 7] th ie 8rd) ¢ Ab7 ae x_X Xx 8th. ae epe Tth \ord) Bb maj 9 x 9) Bb min 9 146 sar Te) Bb 7(add 9) xX. Tth- 9) Bb°(add 9) X_X 6th - 87 \min 3rd) 8th - B min (-9) XX Tth - 9) B7(-9) x 8 PeeThe same chord symbols may also be used for the alternative fingerboard positions of the example “lead” note, |.E., on P11 (low position), and P. 13, on second stiing, (the same sound as on P.& of the first string) Refer to Fig, 2 in part 1, 2, 3 and 4 and choose a chord diagram given for the keynote, (in parts 1 and 2), and for the "V" note, (in parts 3 and 4), and note the finger given for the “lead” note, now place this finger directly on P1 (jow position), or on P13, (high position), on the second string and then form the chord by placing the remaining fingers as given for the notes in the harmony parts of the chord, as shown in the following example of chord forms for chord symbols C major, C minor, C 7 and C dim.7, moved from the positions given in the book for G major, G minor, D 7 and D din.7: - C maj C min oO Cdim7 Ist - ) RN 10th - 19th - 11th - RN ‘Other chord forms for the same cherd symbols and the same "lead!" can replace those given in these examples. 88A Project For You Fig. 4 is @ two-bar phrase in common tempo, with C major harmony and with C,(P8, fist string), in the “lead” and sustained throughout the two bar measure. In this instance, instead of playing chord-links consisting of C major “progressive” chord-forms, choose ¢ few of the chords from those given in the table, Fig.2 (just dealt with) and after playng the chords in various links of, say two chords at a time, make up a selection of forms which blend satisfactorily with each other and will lead back nicely to the finishing chord. Let your ear be the judge when deciding on the chord forms to be used as substitute chords or “approach” chords to the final chord. ‘Two-bar "mekody-phrase’ with C “tad” and C major chord harmony: substitute chords are Introduced on the fourth beat of the fist bar and on beats one, two and three of the second bar, followed by the C major chord on the last beat. "Lead" note C, (sustained for two bars): chord symbol C major. 4 = a peal a Cmajé C majo G° (add 11) x x x_X 6th C maj6 8th - ROIn similar phrases in which the chords are used for accompariment purposes and itis not essential to sustain paciculer “lead” note throughout the whole two-bar measure you can use various chords which, when linked together to form a chord sequence, produce a melody-line, or counter.nelody phrase designed to provide an interesting “backing” to solo voice or instrument and also in ensemble playing. Fig. 5, below, is an example of such a chord sequence: - \ oo =a G7 Gur x 10h- POSH 7th. \ C maj7 x 6°46) x _—— C maje x_X Ee Many other two-bar, and also one-ber chord sequences can be devised by selecting various combinatiors of chords from the table given in Fig, 2 and then linking them together, and although it must be admitted that hermonic progressions derived from the use of the method: described inthis book are “shots inthe dark” in comparison with the skilled scoring of professional music arrangers it must be recognized that the majority of guitarists have nether the time nor the inclination to pursue a detailed study of text book harmony, therefore, in both accompaniment and in chord sole playing on the guitar they must rely almost exclusively upon their ears and a fair sense of harmony acquired by listening with close attention to the playing of experienced players. —_-—____—+ om #0 90Chord Forms For Scale Notes And “Altered” Notes In Popular Songs ‘As mentioned in ‘chord sclo playing-sel-svanged’, page 19, the notes of any popular songs consist of scle-notes andl “altered” notes belonsing to the scales indicated by the chord symbcls given, in most song sheets, for the harmonic accompaniment to the song, therefore, to avoid taking up unnecessary time and space by repeating the directions given on page 19, the reader is requested to reer to said page as an aid to readily understanding the explenations and illustrations in the following example in converting the notes of the song to ther scale-note names, accordine to the chord symbols given in the harmony accompariment. Incidentally, the majority of song sheets include the tonic sola names for the melody notes. In the voice part of the song, 45 an aid to vocalists who are unfamiliar with music-notation. Theses tonic sal-fa names are, however, in accordance with the scale of the key in which a song is written and they have no connection with the scale note names of the various keys indicated by the chord symbols. In the following extract from the traditional song “Greensleeves”, (1642), the notes are witten an octave above their actual sounds, as is usual in waiting for the guitar, but instead of including the sol-fa names of the notes | have given the alphabetical names for the convenience of players who are also unfamiliar with notation, Directly over each note of the song a ligure represents the scale-note name according to the chord symbol. This is intended to serve as an example in converting the notes of the song to their scale-note names, according to the chord symbols. Assuming that the reader applies the procedure to his/her favorite songs it isa simple matter to decide on the most convenient positions, on guitar, for the melody notes and then, (alter referring to the reference tables of scale notes and altered scale-notes for any required key or scale), writing the scale note name over each melody note. The next step, after writing the scale-note names of the notes of the song, is to turn to the “scale notes in chord form” in pats 1 t0 4 and meke up ¢ selection of chord diagrams for the purpose of playing the song In “chord-solo style”. As in the example of chord-forms selected for playing “Greensleeves” in chord form. 91A Selection From The Song “Greensleeves” | Key: E minor Chord symbols Emin AT D maj7 Bmin RN mid 4\ / 28) FP 2@\ 5 3\ Mins 4—«*S — G AB che oA a) — Fi beats: 3 1 2 3 1 2 3 simile Emin c7 87 Emin m3 RN\/3 42(48) 3 5 3 V RN tp | @ [e: a e " G E E Db} £ Ft bt B E AT Dmaj7 Gmaj7 mis 4 29) te 2ZO\ /5 3 5 6 7 9?Now, taking each chord symbol and its scaie-notes, as they occur in the melodyline and dealing with the minor chord symbol fist, refer to the chord forms in part 2 and sketch out afew of the chord diagrams given for scale notes in minor heys. Against the “lead” note of each selected diagram, jot down the fret positions on which the "lead'note finger is 10 be placed when forming the chord on guitar. (later, when you have decided on the chords you wish to use for the notes of the song, you can indicate the fet position for the fist fingey, in the usual manner, f preferred; otherwise, the diagrams may be positioned according to the “lead” note finge Secondly, teat the major chord symbols and their scale-notes (in the melody) in the same manner and turn to part 1 to select the chord diagrams. Folow the same procedure with dominant chord and “diminished” chord symbob and the "V. scale-notes” in the song, the chord diagrams for these ate given in parts 3 and 4 Here is an example of selections of chord diagrams as applied to the extact from “Greensleeves”: - Greensleeves for solo guitar CHORD SYMBOLS em RN s = ae a MELODY E 6 A 1ST SELECTION 4th The melody may be on the oth: 1st or 2nd string, as preferred 2ND SELECTION x 2nd - Th. O232(8) 3 2(9) 3 ra 6 £ e ist B cH SELECTION 9th -| 1 ply as 135] a a single ji 14th. oe} 2ND SELECTION Bmin Emin mid 4 5 mis RN 1st SELECTION Qnd - Qnd - Th: Th -@ Th (ooo 2ND SELECTION (same chords as above)1st SELECTION x, 3rd - 2ND SELECTION x x XO XO 3rd (same chords as above) ‘The fist selection of “melody.chords” consists of more or less straight-forward chord forms at used in simplifed scores of chord solo playing, while the second selection is rather more ambitious. Both selections are for the first eight bars of the extract from “Greensleeves” and this should be sufficient for the purpose of illustrating the procedure described on page 91: the remaining eight bais of the extract have been purposely left so as to provide for individual choice, by the reader, of chord diagrams to be used as “melody-chords" for those bars the latter project is, or course, optional and the reader may prefer to werk out their own chord-solo scores of favorite songs, the notes of which are easily located, by ear, on the Fingerboard, since the procedure is exactly the same as for the chord solo score of “Greensleves". In the case of songs in which the melody is rather “busy” iti common practice to employ a combination of melody-choids and single notes, the reason for this being obvious. Remember that you can substitute “progressive” chord-forms in place of "common major and minor chords given in song sheets, oF you can introduce ‘added! or “altered” scale-notes in the harmony pars as inthe following example, agein in the fist eight bars of “Greensleeves” :-"Progressive" chords substituted for "common" chords. ™) Emin7_E min (ma7) E ming AQ mis 4 9 (estan the peesious ner harmony’) D maj 7/9 D maj7 Bmin7Z, Bmin 7/9 5 3 mi3 4 5E min (ma7) Emin7 c7 Eb min 7 cy mi3 RN 3 (+9)DF 3 E E b 99909 ©) io Qnd - Th: 19th cv’) "v") B7/11 oy ® Fe be B (3rd! (11th or 4th) 6th Genet ed (the "3d! may be used iastead ofthe “Ath” or “1 1th’) A common faulk in the use of substitute chords, particularly with “progressive” chords with two or more “added” notes, is the inclusion of too many of such chords in a single arrangement of a piece of music, resulting in the harmonic progression being overloaded with them. Also, the melodic-lines created by the inner parts of the harmony are often erratic and ill. constructed, therefore discretion is called for in the selection of such chords for either accompaniment work or for soles. In conclusion | trust that | have made a useful contribution in helping the reader to aquire a useful working-knowledge of the use of chord-forms, on guitar, for accompaniment work and in chord solo scores and also to the building of « useful repertoire of chord forms. Masialy yous, Allan Holdsworth 97Supplement Relerence tbles “lead”, or melody-rotes on the 1st and 3rd strings and ther “scale-note”, or interval’, names according to any chord symbol, for major, minor, dominant and diminished dominant harmony - ata glance. ‘These tables may be used as an alternative to the reference tables of fingerboard positions of scale-notes and altered scale- rotes in ll major, minor, dominant and diminished dominant scales, particularly when converting the notes of a favorite sorg into scale-note names per the chord symbols given, in song sheets, for the harmonic accompaniment ‘Chord forms for each “leed” note are given in diagram form, in parts 1 to 4. Alll the chord forms are easily applied to any given, ot chosen, “lead note” on the 1st., 2nd., and 3rd. strings, the method is as follows: - assuming the fingerboard position of your “lead” note is known (as determined by ear) - the reference tables give you the scale-note name of the rote according tothe cherd symbal siven forts accompaniment for the ourpose of example, supposing the “lead” note is con P3, (Ist. string) and the given chord symbol is B+7, reference table (1) tells you the scale-note name for your “lead” note is “augmented 5th, (+5). Therefore, tun to Fig. 1 part 3, and choose e chord diagram given for that scale- rote Now, to play that chord diagram for your “lead!” note on P.3, (1st. string), simply place the finge: (given on the diagram, for the "lead” note), on its new position and then position the other fingers in the "shape" of the chord, E.G. Chord forms with ‘chord form). Asrow indicates the finger for the "lead" Chords with “aug Sth" lead. As in fig. 1, with the ‘lead* note on pesition 3, (Ist string) or on position 8, (2nd sting). This method avoids having to count from the fet positions siven for the fist finger when transposing chords to other scales "Lead" note, “aug.5th";B+7 chord x 3rd - add Bth 8th -1) 2) Reference Tables LEAD NOTE SCALE-NOTE same {RN sana{ mid mad same f +9 soundL mi3 ma3- 4,(11) same _f+4,(+11) soundL-5. 5 Fie or 31d - 8th - or 5 same Abb SoundL-6 mas dim7 7 same maz 12h Examples: (Fftin Ema(+9);B+) (ab in Gb 7-9); Db 7(-5); Db; BLO) {RN ~v" mid mad +9 mid. ma3 4,(11) fae 5 +5 6 maé dim7 mi7 V7 ma7 4th- Gt or 13th Examples: (G4 in F7(+9); Ema; C+; 86) (Ab in G7(-8); Fmi; Dma(-5) OF: -CHORD SYMBOLS COMMON AND PROGRESSIVE G; Gmi G7; G° Gb ma(-9); GP mi(-9); Gb 7(-9) Fmag; Fmi9; F9; F°(9) Ema(+9); E7(+9) Emi, EO Eb ma; Eb 7 Dma(4); Dmi(4); 07/11 Db ma(+4); Db mi(+4); Db 7(+11) Dbma(-5); Db mi7(-5); D> 7(-5); DbO C; Cmi, C7 XX B+:B+7 Bmi(-6); BO (-6) Bb maé; Bb mi6; Bho pene Amit ~~ AT Abo(ma7y- ~ - - Ab Ab mi A> 7; Abo Gma(-9); Gmi(-9); G7(-9) G) mag; GP mig; Gb 9; Gas) Fma(+9); F7(+9) FmijFoo oo EE? - Eb mad); Bb mi(4); Eb 7/44 Dma(+4); Dmi7(+4); D7(+11) Dma(-§); Dmi7(-5); DO Db ; Db mi, Db 7 C+; C+7 Gmi(6), C96) = Bmaé; Bmi6; B13- BO Bb mi7 pk 7------------- ¢ o®- ‘Ama7; Ami(ma7); AO (ma7)3) 4) LEAD NOTE 2nd - cH or Sth - or Bb 14th Examples: (Gétin F #74); C iris) (Bbbin Ab 7(-9); Eb (-5); E) 3rd - At 6th - or or 11th cH 15th Examples: Af in G7(+9); E(+4); D+; Bma7 ch in D0 SCALE-NOTE RN ve mio mao +9 mi3 ma3 4 (11) +4,(+11) ae 5 45 6 maé dim7 mi? v7 ma7 mag +9 mi3 mad 411) 44,411) 5 +5 +6 dim? mi7 V7 ma7 100 OF: -CHORD SYMBOLS COMMON AND PROGRESSIVE A, Ami Az; AO ‘Ab ma(-9); Ab mi(-9); Ab 7(-9) mass Gmi9; ee ceo ®, 49); Gb 7(44 é ee OE FY oy, F,F7------------- Ema(4); Emi(4); E7/11;E (4) Eb ma(+4); Eb mi(+4); Eb 7(+11) Eb (-5); Eb mi7(-5); ES; Eb 7(-5) D; Dmi; D7 Db +; Db +7:(C# also) Db mi(-6); Dieter also) Gras: Cmis; C13- - - - ~~ - - Bmi7 B7 Bb maz; Bb mi(ma7); Bb°(ma7) Bb ma; Bb mi Bb 7; B° x Ama(-9); Ami(-8); A7(-8) ‘Ab mag; Ab mid; Ab 9; ALO(9) Fma(4); Fmi(4); F7/11; FO(4) Ema(+4); Emi(+4); E7(+11) (5); Emi7(-5); E®; E7(-5) Eb ma; Eb mi Eb ------ D+; D+7 Dmi(-6); D°(-6) Db ma6; Db mi6; Db 13 € ° Bma7; Bmi(ma7); B° (ma7)LEAD NOTE 5) ath. or ch Th 12th - Examples: Ch in Bb 7(-9); Ab mi; AIO; Db 7 6) Bi Sth - or 8th - or Dbb 13th | Examples B} in Ama(+9); E+; A7(+9) Dbbin Gb (5); EL? SCALE-NOTE ‘RN 101 OF: -CHORD SYMBOLS COMMON AND PROGRESSIVE Bma; Bmi B7; BO Bb ma); Bb mi 9}: Bb 71-8) x 9; A Th: Ama9; Ami Ab ma(+9); Ab an Ab mi; AC Gma; G7 x Gb ma(4); Gb mi(4); Gb 7/11 Fma(-4); Fmi(-4); F7(+11) F(-5); Fmi7(-5); FO; F7(-5) Ema; Emi, E7 Er seb 47 Eb mi(-6); Eb (-6)- Dmaé; Dmié; D13 Db7 Cma7; Cmi(ma7); C° (ma7) ; Cmi ¢7,c° Bma(-9); Bmi(-9); B7(-9) B> mag: Bb mid; Bb 9; Boe) Ama(-9), A7(-9) i - AFA? eae a Gprat4): ‘om 67/11; G° (4) ma(+4); Gb mi(+4); Gb 7(-+11) a (5): G? miz(-5); Gb°; G> 7-5) F; Fmi; F7 E+ E+7 Emicé): EP (6) x Ebmas; E> mi6;E> 136th. Ebo Dmi7 ee D7 - Db maz; Db mi(ma7); D%ma7)7) 8) LEAD NOTE Qnd - 6th - ct or Db 14th 5 Examples Db in Bb mi; G(-5); G> ma;E° ch in Ema; F+7; Bmad 3id - cit Th. or 10th or Ebb 15th Examples: fF in 87(49) Ebb in Db 7(-9); FO SCALE-NOTE RN vv" mig mad 102 OF: -CHORD SYMBOLS COMMON AND PROGRESSIVE Cma(-9); Cmi(-9); C7(-9) Bma9; Bmid; Bs: Bo (9) Bb ma( +3): Bb 7(+9) Bb mi, Bbo AAT ‘Ab ma(4); Ab mi(4); Ab 7/11; Avoca) Gma(+4); Gmi(+4); G7(+11) G(-5), Gmi7¢-5); 6°; G7-5) Gb; Gbm;Gb7 Fa; F+7 Fmi(-6); F° (6) Ema6; Emi6, E13 x EO oh TS Eb mi Dma?; Dmi(ma7); D° (maz) D; Dmi D7;D° Db mat-); Db mi(-9); Db 7(-9) mag; Cmi9; C9; Co (9) Bma(+9); B7(+9) Bi; BO 10th Bb; Bb7 Ama(4); ATIM1; AO(4) Ami( Ab ma(+4); Ab mi(+4); Ab 7(411)- = Abma(-5), Ab mi7(-5); Ab 7(-5); Abo G; Gmi; G7 G> +, Gb 47 Gb mi(-6); Gbo(-6) Fma6; Fmi6; F13 Eb ma; Eb mi(ma7); E(ma7)LEAD NOTE 9) Ath - Di or Bth or th a Fub 15th - Eranples (D# in Cma (+9); G+7) (Fbbin Gbo) 10) 5th. or Oth. Fb 19th Eanples (Fb in Eb7(-9); D> mi, (Db°; Bb ma(-5); Ab mi(-6); Gb mi7) SCALE-NOTE RN ve mig mad +9 mi3 ma3 4,11) { +4,(411) 6 +5 6 maé dim7 mi7 vw ma7 RN Evy mig mas +9 mid maa 4(11) { +4411) 5 45 maé dim7 mi7 ma7 103 OF: -CHORD SYMBOLS. COMMON AND PROGRESSIVE x 10h Fete Eb; Eb mi Eb7;EbO--~-~_ pyeede J Dmi(-9); D7-9) D| mag; Db mig; Db 9; Db (9) Cma(+8); C749 _ eae oe xX aa a1ith Bima: BE mila), BE TIN Ama(+4); Ami(+4); A7(#11) Amatey ‘Ami7(-5); A7(-5); AP Ab; Abmi; Ab7 G+; G+7 X x Gmi(-6); G° (-6) 4th - Gh ma6; G> mi6; Gb 13- - ~ Gho Fmi7 F7 Ema7; Emi(ma7); EO(ma7) E; Emi E7;£0 Eb ma-9); E> mi(-9); Eb 7(-9} -| Dmag; Dmi9; D9; D° (8) Dbma(+9); D> 7(+9) Dbmi; Dbo ¢;c7 B} ma(4); Bb mi(4); Bb 7/11; BbO(4) Bb ma(+4); Bb mi(+4); Bb 7/(+11) Bb ma(-5); Bb mi7(-5); Bb 7(-5); abe A Ami; AZ. i Abe ASST a Sel ihe abit, AL-6) bat Gma6é; Gmié; G13 Ge Gb mi7 Gb7 Fma7; Fmi(ma7); F° (ma7)LEAD NOTE 11) ist = 6th 10th - or 13th] Gbb Examples: (Ef in D7(+9); B7(+11) (Gb) in Abo) 12) 2nd «| Fi or Gb 7th - 11th 14th | Examples (Gb in Eb mi; Gb ma; C(-5)) (Ft in Bma; Bb +) SCALE-NOTE OF: -CHORD SYMBOLS COMMON AND PROGRESSIVE F; Fmi F7; FO Ema(-9); Emi(-9); E7(-9) Eb mag; Eb mig; E> 7(-9) Dma(+9); D7(+9) Dmi;, Do Db; Db7 Gma(4); Cmi(4); C7/11; CO (4) Bma(+4); Bmi(+4); B7(+11) B(-5); Bmi7(-5); B7(-5); B° Bb; Bb mi; Bb 7 At At7 A°(6) ar Ab mi6; Ab 13 Abo Gmi7 c7 G) maz; Gb mi(ma7); Gb°(ma7) Gb; Gbmi Gb 7; GbO Fma(-9); Fmi(-9); F7(-9) Emad; Emig; £9; E° (9) 5 oat Eb 7(+9) E bmi; Eb9 0; 07 Db ma(4); Db mi(4); BE 7M; Dbo(4) Cma(-+4): Cmi(+4); C7411) C(-5); cmc 5), C7(-5); C° B; Bmi, 8: Bh BET Bb mi(6); Bb9(-6) Amaé; Amié; A13, RO Ab mi7 AbT Gma7; Gmi(ma7); G® (ma7) The "lead" notes in the tables are given in the following order: 1) GF HR): ob) 2) ab; Gt) 5) B;(cb) 3) A; (GH4); bb) 4) Bbsabycch) 7) db; ct 8) 6) c;@BHy@b) 9) 104 10) Eb) D; (CHE): (Ebb) 11) F; (EF); (Gbb) Eb; D#;(Fbb) 12) F 4; GbA Selection From The Song “Londonderry Air” The following “chord solo” of an extract from “Londonderry Ait” is included as enothe: example in converting the notes of the melody to scale-note names - (or intervals") - of the chord symbols given forthe harmony eccomperimert tothe melody Taking each note in turn and locating the fingerboard position of the note, - (by ear, # you like) - refer to the tables and first glance at the chord symbols given for the note, opposite this symbol, the column of scale notes tells you the “interval name” for the note. Jot this name down, directly above the melody note and then, when all the notes of the melody have been treated in this manner, turn to “scale-notes in chord form” and make up a selection of chord forms having the “lead” notes requited for the chord-solo, Following the directions given on page 19, your selection of chords for the solo of “Londonderry Air” could be similar to the selection given here: - CHORD wv) SYMBOLS G7 KEY c B c D G7 et G19) x “00x x x x x a : D oO Cl , (Dominant Pedal note) —_—mi9 displaces ma3 cma o7 cma Fma cma , 2 5 3 3 5 3 —_ A cS cma7 ce cma7 Fma7 Cmas/9 maz x_" 000 x x x X XX Xx x Qnd - 105Dmi Cma Fma Dmi7_ G7 @,/85 RN 3 mi7 (13) V7 ) —_S D c A G E F Dmi7(-5) ce Fma7 Fe Dmi7(-5) G13 G7(-9) x x x XX X XXK_X 7 T 7 7 7 1 ma7 be ‘sta ‘Guten, cet fs th tang nny te Dmi7 XX XO — Gorty) = cresendo(gradually louder) c F Ami. Dz © 5 3 ‘mi? 5 Ww 20) ee a 2 joc oe f 2 Ta @ 6 ¥ e el S A G E ——: cma7 Fo cma7/9 — Cma7(sub) D7 ps x_X x_xX XX x x XO x x x 3d x) ote (mary XXX XX x 106G7/11 G7 D7 G7(-9) 5 Op, 3 Ww 2 5 * D B © D Fma6(sub.) 67-9) o7 pe 67-9) Xx % x x X X 00x xO xx x @ he | - T nie, o ior) 8) (iy suv. ev Fmi6(sub.) G7 x x x x _x x _x cma G7 3 5 E D maz mas c7(sub.) Go x x x x x aap Sth. 107Cma Ema cma entra 3 3 5 3 jeontnued me ri fe o ——=—=>=>— E A GS E Cma7 Fma7 ma7/9 Cma7 x 4 x x te Q te 4 cma Fma (9) RN 3 2 —____” e 2 « e A c Fma7 G7(sub) OOXXx 108Dmi7, (07) Emi v7 Fma7(sub.) c7 XxX X_O0Ox Dmié XO Ox cma Emi ©, 3 RN 6 - — Ez F cma? Ema6(sub) C7(sub) Fmié x x x, x xO tite] «= He] «BRE 109